Eldad Shiloah was born in France and raised in Jerusalem-Israel. He studied the recorder and Piano before switching to Percussion after having attended a summer course percussion workshop. Eldad completed his Bachelors degree at the Rubin Academy of Music in Jerusalem and his Masters degree (with distinction) at IndianaUniversity. He also studied one year in Paris-France. All the while he took various theory and composition courses. He has played as Timpanist/Percussionist with various orchestras and is now First Percussionist with the Haifa Symphony Orchestra, where he is also the Program Editor. Eldad has played with various contemporary music ensembles and has written texts for and has hosted children concert within various frames. He teaches percussion to children (8-18 years old) at the Jerusalem conservatory and the Natanya municipal conservatory. Eldad composes mainly for percussion, trying to compose "listener friendly" works. His works have been published by Alfonce Production (France) and Beurskens Editions (Holland). He resides in Natanya with his wife Bina (Dance teacher and choreographer) and their three children -Itai, Yoav and Na`ama.

This 7-9 minute solo was composed in 2002 for a 4+1/3 Marimba. It is in the form of theme and variation.

It starts of with a lonely, melancholic, introvert rolled melody which is then repeated with accompanying chords. The first variation breaks down the chords in an upwards motion and then eases off onto a 7/16 variation which maintains the soothing calm atmosphere previously established, and yet a little drama starts to appear before the music subsides into a G.P.

The next variation (in 15/16) is energetic and out of a cloudlike rumble the original theme starts to appear as the music progresses upwards upon the Marimba.

In the ensuing variation the right hand plays a quick succession of high single alternating strokes as the theme is played in a funeral march like manner in the L.H. This is leads to a furious Allegro in which the theme is played in octaves accompanied by quick sextuplets in a guitar like manner.

The following 6/8 variation has a Spanish like quality in it rhythmic serenity which serves as a good preparation for the very dramatic and virtuoso tempest like variation which brings the prelude to its climax. The R.H. states the theme over a difficult 5/8 (actually 2* 5/16) figure in the left hand, reminiscent of Stouts 1st Mexican dance.

A slower, majestic passage played in parallel chords leads the way towards the very end of the prelude as the music vanishes onto naught leaving the listener with a just a whiff of Octoberish autumn sadness.